Digital Storytelling

Drawing from longitudinal research with newcomer communities in Ireland, anthropological literature, and film theory and practice, Alexandra argues for a re-conceptualisation of the participatory media genre of Digital Storytelling (DS). Rather than understanding images and sound as “secondary concerns” disconnected from broader filmic practices, the chapter places DS in conversation with documentary and ethnographic arts. Arguing for the importance of both the audiovisual artefact and the intensively collaborative process that facilitates its creation, the finished artefact is conceptualised as an “embodied object”. Through inquiry, exchange and montage, this object is imbued with the knowledge, longings, and sensorial experience of a particular moment in the emergent practitioner’s life. The chapter concludes with an exploration of the connective tissue between DS and ethnographic and documentary film and video.

The research illustrates multiple experiences and strategies adopted in museums and in the world of cultural heritage in the field of digital storytelling to guide the future design of narrative digital solutions. Its aim is to provide as complete a picture as possible of the different solutions set in this specific sector of the field of cultural communication, their uses, and the accessibility of culture. It identifies and analyzes 14 types of digital storytelling: oral, written, video, visual, animated, interactive, Immersive, Social Media Storytelling, Participative, Generative, Geo–Storytelling, Multimedia Mobile Storytelling, Crossmedia and Transmedial storytelling. Finally, a new vision of the museum is proposed in which, beginning with the antiquarian and nineteenth–century vision of museum collections, develops into what should be defined as a connected museum or museum of connected narration.

Introducing Global Pandemics: a cutting-edge, browser-based, digital learning experience—designed to enhance student understanding of the role of pandemics in world history. One year in the making, and involving a talented, interdisciplinary team from around the world—the new product features cutting-edge digital learning design, web animation, interaction design, and digital storytelling. 

Explore Plague of Athens now!
Experience our fully animated, interactive web app on desktop Chrome browser!
https://pandemics.historyadventures.app/

History Adventures: Global Pandemics
Presenting Chapter 1: “To Do No Harm,” the story of Nikos of Athens, a physician during the Plague of Athens, 429 BCE, who struggles to treat the multitude who fall ill during this world-upending ordeal, causing him to question everything he holds dear, from his faith in Apollo, healer under the gods, to the meaning of his Hippocratic Oath, and what is truly at stake in medical ethics.

Interactive Digital Storytelling
The Global Pandemics prototype consists of over 50 uniquely designed, animated web pages featuring over 2 hours of engaging, rewarding learning material for students to explore. The product combines digital storytelling with interactive learning design to craft a rich, complex pedagogical experience that immerses students in the power of story—narrativizing the experiences of diverse people, around the globe, who lived through history’s worst pandemics—interwoven with rich, multimodal learning content.

Applied Educational Research
Global Pandemics provides historical context for students about the challenges COVID-19 has presented to people around the world. The design of Global Pandemics is positioned at the nexus of innovative pedagogical, theoretical, and technological practices—including narrative studies, multimodal literacies, and game-based learning research. Synthesizing the best of history games, visual learning, interactive textbooks, and history apps, Global Pandemics introduces novel features, design elements, and affordances—demonstrating the effectiveness of applied educational research to enhance learning outcomes. The central question posed is whether—and to what degree—the innovative digital learning design of Global Pandemics will result in a measurable increase in student interest, engagement, and understanding of key concepts in epidemiology as well as the role of pandemics in world history. A secondary question is how to iterate product design to improve engagement and successful learning outcome metrics even further.

Global Pandemics, Chapter 1: “To Do No Harm,”
Plague of Athens, 4th Century BCE

Building on a rich tradition of digital media and learning research, Global Pandemics immerses and engages students through meaningful choice and multimodal interaction design; provide systems-based interpretations that emphasize complexity, interdependencies, and causal connections; played out within a problem space that encourages students to perceive connections between past and present—making that understanding more visceral, tangible, and real—and in the process sparking enthusiasm for learning about the past. Global Pandemics offers an innovative solution for engaging millennial students and inspiring curiosity for learning about history.

This browser-based digital learning experience introduces multiple novel technologies, including:
3D Motion Design to Recreate History
Advanced Web Animation to Simulate Pathogens
Immersive 360 Panoramas of Historical Locations
Animated Historical Timeline & Maps
Choice-based Narrative Design
Interactive Original Historical Documents
Media-Rich Adaptive Assessments

Created by Spencer Striker, PhD
Digital Media Design Professor at Northwestern University in Qatar

Tags
#digitallearning #digital #education #innovation #anthemawards #WebbyAwards #worldhistory #peopleshistory #connectedlearning #curiosity #animation #exploration #revolution #othersideofhistory #narrativedesign #interactiondesign #GamesBasedLearning #chooseyourownadventure #worldofcharacters #jamespaulgee

Su AMAZON: https://www.amazon.it/musei-forme-dello-Storytelling-digitale/dp/8825533691/ref=zg_bs_508769031_14?_encoding=UTF8&psc=1&refRID=68JRVFPG2WMTFC3FTXX1

Questa ricerca intende illustrare le diverse e molteplici esperienze adottate fino ad oggi nei musei e nel mondo culturale nel campo dello storytelling digitale, per orientare la futura progettazione di soluzioni digitali narrative, che siano calibrate sulle specifiche esigenze di valorizzazione delle singole realtà e dei diversi contesti culturali, con lo scopo primario di trovare la migliore soluzione di accessibilità digitale al racconto della cultura, sviluppando così adeguate politiche di audience engagement e di user experience, nell’ottica delle più recenti indicazioni ministeriali in materia. Ovviamente, non si ha la pretesa di aver analizzato tutte le best practices in ogni campo, ma si è voluta fornire una traccia, il più possibile completa, del percorso che lo storytelling digitale ha avviato e delle differenti soluzioni messe in campo in questo specifico settore della comunicazione culturale.
Nello specifico sono individuate e analizzate 14 tipologie in tutto:

1) Lo storytelling orale
2) Lo storytelling scritto
3) Il videostorytelling
4) Lo storytelling visuale
5) Lo storytelling animato
6) Lo storytelling interattivo
7) Lo storytelling immersivo
8) Il social media storytelling
9) Lo storytelling partecipativo
10) Lo storytelling generativo
11) Il geo-storytelling
12) Il multimedia mobile storytelling
13) Lo storytelling crossmediale
14) Lo storytelling transmediale

All’interno di queste macrocategorie nei casi dello storytelling visuale, animato, interattivo e immersivo saranno distinte delle sottocategorie, cercando di restituire un quadro il più possibile completo di come queste forme di storytelling digitale si siano sviluppate e si stiano tuttora sviluppando in molteplici varianti ed espressioni, sulla base dell’evoluzione e della differente applicazione delle nuove tecnologie digitali nella creazione, nella comunicazione, nella visualizzazione e nella fruizione di tali contenuti.
Come avremo modo di discutere nelle conclusioni a questo volume, intitolate “È tempo che..”, si vuole proporre in questa sede una nuova visione di museo, un nuovo modello che, partendo dalla visione antiquaria e francamente ottocentesca del museo di collezione e oltrepassando la trasformazione già in parte in corso di museo di narrazione, giunga a quello che si è voluto definire un museo di connessione o di narrazione connessa.

Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.

Storytelling has long been an important part of both campaigning and creating and maintaining community.  However, the relationship between stories and rational argument has been problematic in the study of public moral debate.  The question remains unsettled: How do stories argue?  How dod stories have a persuasive role in political rhetoric?  Rather than the view that narrative reasoning is based in a different paradigm of reasoning, I argue that the persuasive use of stories goes back to early rhetorical training and that stories have always been used along with rhetorical argument as part of persuasive discourse.  Vladimir Propp's work on the morphology of folk and fairy tales demonstrates that stories use topics, or topoi, in a manner similar to those used to generate lines of argument in rhetoric.  I offer four aspects of narrative that affect the persuasive reception of stories: performance, adaptation, context, and iconicity.  These aspects of rhetorical storytelling, combined with the topoi of the story, give us a new analytical framework for evaluation the persuasive potential of political storytelling.

Helen Graham, Rhiannon Mason, Nigel Nayling

Abstract
Copyright is a means of managing the interests of individual authors and those
of the ‘public interest’. In a museum context, copyright is a technical practice which illuminates how museums imagine and manage their own organizational legitimacy – a settlement which has often operated through a ‘public interest argument’ (‘we need you to hand over control of your object/story for the benefit of all’). Drawing on interviews with people who work in museums and those who
have taken part in a museum participation project, we focus on a digital storytelling project to show how copyright was deployed to make an in-practice argument for the how museums might legitimately relate personal story telling with the ‘
public
interest’. The project did this through three processes:
coming
into the public
via managing informed consent through evoking future audiences,
making an author
through creating intentional decisions and ‘responsibilization’
and
making an object
by transforming a digital story into a ‘finished’ object which
is, in turn, transferred into the museum collections. While those involved in the project recognized they had signed over the rights to their story and were, in most cases, broadly happy with this – ‘that’s what the form was for’, as one put it – the personal nature of the story itself (linked to personal memories, friends and family) and the sociality of the process of making it (in a group; through interactions with museum staff) was also emphasized. This sociality was
expressed in the sense that participants would like to be told when a story is going to be re-displayed, be sent drafts of interpretation and be invited to the opening of the exhibition – a mode of relationship with the museum consistently described as ‘courtesy’. The article concludes by suggesting that the expectation of courtesy – though it might seem like a very modest claim – does something to
museums and makes way for more nuanced asymmetries within the public interest argument. Rather than assuming that ‘the public interest’ lies in treating people (slightly coldly) in the same way, the lens of courtesy might suggest ways of both respecting the importance of the public ethos (for institutions to address
themselves to ideas of fairness, inclusion and equality) yet might also work to socialize this impulse and reimagine a responsive
public museum from the bottom up.

In the coming decades, the platforms and formalisms scholars employ to display, transform, and transmit information will continue to evolve. Innovations in information management did not stop with the codex. They will not stop with the PC. The purpose of this paper is to explore a specific implication that new paradigms of computing—especially those pertaining to 3D objects and 3D environments—will present for the discipline of history. Put simply, this study suggests historians will need to re‐think the aesthetics of their discipline. Drawing on the experience of the<it> 3D Virtual Buildings Project</it>, it suggests there are two possibilities historians can and ought to explore. The first is to test the efficacy of 3D objects as cognitive tools, tools designed to assist student realization that historical works are models, models that must be distinguished from the objects they represent. The second is to explore the use of 3D‐immersive environments as platforms to display research findings. If Virtual Reality is to emerge as a viable medium for the historical discipline, scholars will need to transform their practice. Assumptions regarding the constitution of narrative, authorship and the scholarly work will all require modification.

Reading for pleasure is a habit that is going down. However, adults have been meeting to read and interpret the Holy Books at least weekly for Muslims. Young people carry and use their mobile phones or ereaders everywhere. Thus there are people who can be attracted to reading for pleasure if their needs are met. What can writers, communities and governments do to encourage the culture of reading?

Autonomous learning now becomes a prominent issue in English language teaching. The concept of this learning model is to make the students use most of their potential to boost the learning outcome. Digital storytelling is relatively new in education, in which we use digital tools to tell a story. This technique combines both technology and learning to make students explore their digital literacy and express their language ability. The present paper explains in detail how storytelling can be used for instructional purposes, both from literature and research perspective. Then, it will list some ideas, which can be utilized to apply this technique in English language classroom and to make students be more autonomous in learning. A Sample of lesson plan will be given to make this paper share more practical benefit for the readers. Finally, it is expected that this article can give some insights for teachers to bring joyful and innovation in their teaching practices.

This article describes a five-week summer literacy program designed for a group of 70 multilingual refugee boys resettled from their home countries in Africa and Asia to a city in the Southeastern USA. The students attended local public schools but struggled to experience academic success in the traditional class- room. The summer program addressed this issue by offering the students a cur- riculum in which they worked, alongside American teachers, in small learning groups, completing activities premised on specific twenty-first century literacies, such as critical thinking and the creative manipulation of texts and technologies. The students interacted with high-interest literature written in English and with selected productivity tools, including the filmmaking software MovieMaker. The program culminated with each student producing a digital story – a ‘transpoema- tion’ – adapted from an autobiographical response to George Ella Lyon’s poem, ‘Where I’m From.’ The students translated their own poems through a series of scaffolded steps in order to create short films for preview and critique. Working with the computer, with texts they had generated, and with images and music, the students showcased their facility with storytelling, with the English vocabu- lary they were acquiring, and with visual media, demonstrating a growing sense of academic confidence.

In the midst of the digital revolution, this paper’s significance lies in its contribution to defining how media will change our lives and how we communicate with each other in the years to come. Narrative, as one of the most ancient communication tools, has undergone substantial structural changes. This paper addresses how these changes impact the way we read and write. Does the same story conveyed through different media channels signify in the same manner? In other words, what are the differences between a printed story and a digitally presented one? Have electronic reader devices altered the way stories are told and created? And how is networked communication changing the ways we tell stories? Empowered by technological advancements, any reader now has the ability to become an author, publishing her ideas in blogs, revising encyclopaedia entries in Wikipedia, creating her own fictional world in virtual communities. Can we talk about the existence of narrative in this new environment, or has it metamorphosed into what Henry Jenkins has defined as “transmedia storytelling”?

In May 2019, A Night in the Forum videogame was published in the Sony PlayStation store, for PS VR. It was the final result of the REVEAL EU project, whose goal was to identify strategies, features, and tools to develop educational titles in a more efficient, cost-effective, and valuable way, exploiting their educational, cognitive, and engaging potential for schools and cultural tourism. Environmental Narrative videogames was chosen as a genre suited for this purposes. This article presents how known issues in the production of videogames have been faced, the solutions identified, and results obtained

Engagement in the companies&#39; training programs is a crucial issue for their success. Every company faces the matter in different manners: some enterprises promote mandatory courses or programs; however, they may result not enough effective, due to a low level of motivation that can compromise learning and retention. Other enterprises prefer to adopt voluntary courses or programs, but in this case enrollment and completion depend on many factors: the time that workers can spend on training without compromising their main tasks; the directives of managers; the individual motivation. Another way to face corporate training may exploit gamification to enhance engagement. The authors present the design and implementation of a gamified course of office automation, developed for the employees of a large media company. Our approach attempts to go beyond the well-known triad point-badges-leaderboards, employing also a narrative, the Bartle&#39;s taxonomy of player types and the Self-deter...

This paper’s theoretical framework is twofold: on one hand it is  rooted in classic theories of urban representation, on the other it shows a constant preoccupation for contemporary debates about what is generally known as the ‘digital revolution’.  Computer and software development have given birth to a whole new field of digital texts, which are not bound to the book as a medium. These texts can be read from computer screen or, increasingly, from different reading devices, so called e-books. It is my contention that digital textuality  opens an infinite field to expand literary expression, especially when it comes to the city - urban metaphors are not surprisingly abundant when describing the Internet. Often digital textuality is seen as an alternative medium for literature, there is, however, literature which uses digital textuality much more effectively. They integrate aspects of digital dynamics as part of their signifying structure and widen the range of literary expression. I am referring to ‘digital storytelling’ which brings together the ancient art of storytelling and multimedia technology.

Digital storytelling is a co-creative media practice developed in California in the early 1990s in which ‘ordinary’ people are taught to create short, usually autobiographical ‘digital stories’. This article focuses on arguably the most famous digital storytelling project – the BBC’s ‘Capture Wales’ programme – to argue that not only are these digital stories, which are produced in workshop settings by non-professionals and exhibited primarily on the Internet in digital archives, ‘cinema’ but, moreover, that they collectively constitute a kind of ‘national cinema’. Crofts has, for example, argued that ‘[l]ocal cultural traditions and their articulation through film’ have ‘underpinned the best-known’ national cinema ‘movements’, which have tended to emerge at ‘historical moments when nationalism connects with genuinely populist movements to produce specifically national films that can claim a cultural authenticity or rootedness’ (4). This is the reading of Capture Wales – as, in fact, a co-creative national cinema – that this article offers.

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Wars are often described and discussed from a single point of view. Vietnam War Stories: Stories from All Sides is an interactive digital storytelling platform that incorporated video interviews recorded from over 150 Vietnam War veterans and survivors from all sides, including U.S., North Vietnam, South Vietnam, Europe, and Asia on a historically accurate map. This project utilizes the perspectives of network science to integrate digital historical multimedia artifacts into a coherent network of linked resources that can then be visualized and represented in an interactive prototype. This allows the historians, researchers, and scholars to easily access the previously undocumented and segmented historical content, and easily explore connections between them. It also serves as an educational platform, allowing the public to navigate war stories in a highly personal and engaging fashion. Most importantly, "Vietnam War Stories" enables historical argumentation and interpretations of the individual experiences of Vietnam War by presenting multiple accounts and perspectives from primary sources as previously undocumented evidence of both sides of the Vietnam War. Furthermore, "Vietnam War Stories" will inform the design of future platforms that will offer the veterans a way to connect with other veterans and survivors and empower them with a channel to share their own stories.

Each game can be defined in game theory as a mathematical object. In order to do that, every game must have four essential elements: players, actions, payoffs and information ("PAPI"). But all these elements are common in all games. What is that element that makes a game unique? Storytelling predates writing, and it was the only way at some point to tell a story and pass it on from generation to generation. Nowadays, we often see a new term called, gamification. What is gamification and what relation does it have with storytelling? Is storytelling an essential element to gamification? Gamification as a term is nothing more than taking game mechanics and applying them to something that already exists in order to motivate and make it more appealing. In this paper, we are going to discuss how storytelling affects gamification in general.

Occasioned by the celebration of the 200 years since the outbreak of the Greek Revolution of 1821, Onassis Library, in collaboration with the Cartographic Heritage Archives of General State Archives of Greece and the Department of Geography of Harokopio University, designed a series of four digital workshops to motivate teenagers to bring to life one of the most emblematic maps of the so-called Greek Enlightenment during the eighteenth century and major item of the Greek cartographic heritage: Rigas Velestinlis Charta (map) of Greece (1796-1797). From January to March 2020, four school teams consisting of students 13-17 years old, approached in a creative way the map that inspired the Greek Revolution of 1821, transforming it into a computer game, a digital story, an augmented reality or a virtual reality application. By using innovative mixtures of history, geography, cartography, visual arts and information technology, they managed to expand their knowledge and skills by participating in an entertaining learning process. All participants acknowledged the pedagogical value of this innovative experience, which cultivated a positive attitude towards the learning procedure, enriching the lessons of history and geography, promoting the cartographic cultural heritage through new technology approaches and using valuable digital techniques and tools.

This article proposes an interdisciplinary framework designed to analyse discourse, affect and surveillance. By revisiting the "omniopticon" (the many watching the many) and proposing “civeillance” as an affective dynamic of surveillance culture, it considers communicative mechanisms that reflect the interchangeable functions and normalisations of surveillance technologies in personal and public spaces. When 17-year-old Austin Haughwout was using his drone to film aerial shots of Hammonasset Beach in Connecticut, 23-year-old Andrea Mears accused him of photographing people on the beach. Mears physically attacked Haughwout, called the police and accused him of assault. During the attack, Haughwout used his phone to record the incident without Mears’ knowledge. The video was used by the police who arrested Mears for assault. The recording then featured in news stories online, where Mears was subjected to sexist abuse. The following analysis shows how affective practices and embodied meaning-making are personally, socially and technologically embedded within discursive processes of representation. Contrary to non-representational theories of affect, this framework sees affective-discursive practice as a multimodal complex of communicative components. Dialogical mechanisms of discourse and contextual complexities function through physical practices and cultural conducts, which are ideologically influenced by social relations and power structures. Discourse both affects, and is affected by, the feelings, emotions, minds, ideologies and interactive experiences that we have in personal spaces and social contexts.

Keywords: Discourse; affect; surveillance; gender; ideology; omniopticon; civeillance; drones

DIGITAL STORYTELLING is a promising instructional strategy as well as an emerging field of study in higher education. Courses on digital storytelling are offered in communications and creative writing programs at a number of universities. However, the potential for digital storytelling extends far beyond the fields of communication and media studies across many fields of study, including history, American Studies, business and leadership, knowledge management, community planning, and much more. In addition, digital storytelling has been used to help students prepare for college. Digital storytelling applications include personal stories, digital story archives, memorial stories, avocational stories, educational stories, and stories in medicine and health. This paper examines the origins and practice of digital storytelling, highlighting a range of applications in higher education.

Straipsnyje apžvelgiamos šiuolaikinės naratyvo konstravimo tendencijos, glaustai pristatomi dramos naratyvinių
epizodų tipai, laiko ir erdvės ypatumai, pjesės naratoriaus ir struktūros pokyčiai.

The article is analysing the new drama narrative design tools, briefly representing the types of narrative
episodes in drama, time and space features, changes of the play narrator status and general
structure. Even though narratology as a science has more than a halfcentury tradition, the biggest
attention was paid to literature, considering drama as an art with too simple narrative strategies,
directly telling the story on stage through action.

This study explores how digital storytelling (DST) approaches can be used for social media campaigns to create more engaging digital content. The ability to better engage with networked publics offers benefits to entities of different scale and scope, since in doing so they establish stronger relationships with their consumers and publics.

This article explores two stories told during the production of the transmedia documentary project &lt;em&gt;Big Stories, Small Towns: Bongkud-Namaus&lt;/em&gt; in the Dusun villages of Bongkud and Namaus in Sabah, Malaysia. Both stories relate to hungry and sacred entities – an atomised, monstrous moon-eating spirit called the Tarob, and a sacred oath bound in blood, which eats anyone who breaks it. The article will introduce the&lt;em&gt; Big Stories, Small Towns&lt;/em&gt; project, the process that underpins this project and the site of production in Sabah of one iteration of the &lt;em&gt;Big Stories, Small &lt;/em&gt;&lt;em&gt;Towns&lt;/em&gt;, before analysing heterotopic conceptions associated with aspects of folklore in the Southeast Asian region. Providing a theoretical framework that reflects upon a key text by Evans (1953) – an early translator of Dusun folklore for Western audiences – aspects of Dusun culture will be explored that illuminate details of the two case study...

The first product in the award-winning History Adventures, World of Characters series

Now available for download around the world on Apple Books, as well as Chromebooks, iOS, Android, and Kindle Interactive.

Apple Books: https://books.apple.com/us/book/history-adventures-world-of-characters/id1557927535
Chromebooks: https://revolutions.historyadventures.app/
iOS: https://apps.apple.com/us/app/history-adventures/id1543923847
Android: https://play.google.com/store/apps/details?id=com.spencerstriker.history_adventures
Kindle Interactive: https://www.amazon.com/History-Adventures-World-Characters-Industrialization-ebook/dp/B08YXN4W29

Journey Through our Digital Book

In your journey through this digital book you are going to discover the lives of  five individuals who had to work out where they stood into this modern world.

In late 18th Century America, one unnamed slave turned spy, Agent 355, decided to risk everything for the cause of revolution and the principle of freedom.

On the other side of the world in Australia, Jiemba of the Eora Nation, decided to fight for his traditions against British invaders intent of colonizing his ancestral homeland and trampling on his beliefs.

Half a century later, a Chinese trader, Fei Hong fought a different battle. Hong decided to smuggle British opium from India to China and lost everything as he went from smuggler, to trafficker and finally addict before being caught. 

In 1890s Africa, Khari decided to oppose European trade and fight back against the Belgian exploitation of his ancient tribal lands along on the Congo River. The Belgian’s murderous regime had mercilessly extracted  rubber using local labour and Khari refused to let his tribe suffer any more. Resistance was the only choice.

150 years after Agent 355, a social reformer called Thomas Brown decided to disguise himself as a janitor and expose the truth about the infamous Chicago meat packing district. He uncovered a world of filth, corruption and reckless disdain for human life that led him to question what the future would bring.

Just like everyone in this History Adventures (world of characters) YOU will have to decide whether the unparalleled technological and economic advancements of the period from 1750-1900 was worth the human cost. Ultimately, the experiences of Agent 355, Jiemba, Fei Hong, Khari and Thomas Brown challenge you to think “what would I have done?” And, this is the best question about the past you can ever ask…

History Adventures presents a fresh approach to history education, designed for today’s digital generation.

Created by Spencer Striker, PhD